Senior Studio Art Majors
STUDIO ART MAJORS:
Rosemary Bourne Florence Sherman
Sybil Liu Julia Dwyer
Abigail Stern Jialin Chu
Daney Flanagan Saul Lewis
ART HISTORY MAJOR:
Catherine Fan Laura Barton
Mayra Rosas / studio
The Mantra of a Kind of Flower
Without a slightly deviation
Onto my hands
The dirt is waiting
As a graduating senior majoring in Religious Studies and Studio Art at Agnes Scott College, with a dedication to the studies of Buddhism, my current artistic practices are inspired by the Chinese poetry and calligraphy. Under the clouds of Covid-19, my works draw on subjects such as dirt and flower to explore the relationships between physical dominance and nature. I use simple poetic Chinese characters to accompany my landscapes to express the primeval taste of our mother earth.
As a growing artist, Abstract Expressionism has significantly inspired my artistic practice. Inspired mostly by artist Helen Frankenthaler’s woodblock prints and Wendang Gu’s ink paintings, my past studio practice focuses on finding the balance between the aesthetic elements of Chinese Calligraphy and the landscapes from my travel and meditation memories through mixed media print. I used a combination of monoprint, woodcut, collage, and ink techniques. My memories of landscapes and meditations become layered colors of print. My abstract layered prints capture the sound, breath, and vibration of a place or memory that I feel being inspired by. My works of art aim to achieve the aesthetic sensibility of Wabi-sabi, where the viewer can experience the elements of asymmetry, roughness, simplicity, and austerity. My art is incomplete without the viewer, thus I leave space for viewers to breathe and contemplate.
Link to my digital portfolio: http://aliveinnaturejacqueline.agnesscott.org
The mind forms memory and narrative to string together a version of the self that can be built alongside our experiences. Many of these works are derived from family photographs and collected images from peers. They string together a narrative of childhood, memory, and the shared experience of being conditioned by society. We as humans have the ability to push memories down and to pull other memories in. We choose the way in which our narratives are told. The figurative works also allude to a notion of childhood as an edenic space, where definitions of self are still being formed. Many of the works that include settings use different depictions over time of either the figure or the scene. Using the varied media alongside this warped sense of time and space questions what is real and true and what is not. There is no true, complete way to remember something, even our own selves the distortion relates to this. In some of these works you will see depictions of domestic settings. These are recent works done as a response to being confined in my childhood home during the shelter in place.
Julia DelloRusso Dwyer is a Boston born artist. She uses a variety of media including printmaking, painting, drawing, and collage in her work to show the relationships with self: past and present, and other. More specifically, Dwyer’s work revolves around memory, family, and the idea of shared trauma. When she is not in the studio Dwyer enjoys sharing her love of art with youth through teaching. She also enjoys being in nature and cooking.
Bodies is a five piece series of crochet dolls done in various yarns with different textures, sizes, and shades and tints of pink. These dolls have a sensual quality to them, but were made in response to the chaos that comes with having depression, anxiety, and ADHD. My body has compartmentalized the symptoms I experience from these mental illnesses and disorders to other parts of my body. I tend to disassociate when I get anxious and my long term battle with it has caused my body to process what stress gets through as acid reflux. Thus I can no longer eat most foods have to constantly try to practice mindfulness. Yet this is hard to do when I disassociate so often. And that’s what I hope Bodies captures: this tug of war I am constantly experiencing that I only vaguely understand.
This semester I worked on creating five crochet dolls of varying sizes, textures, and shades and tints of pink. What initially brought me to chose dolls is this hobby artist Clara Raurich who designs and creates dolls that are more mature. But the more I stuck with the idea of creating dolls, the more I saw it relating to my previous work in ART 260, Methods in Art and Art History where I started with my feminist art. What first drew me to feminist art was my leadership course my first semester at Agnes Scott College, LDR 101 J How Do I Look? I fell in love with the idea of creating femine art and this is only the beginning. In my methods course I created knitted undergarments, knitted pads, a crochet hammer that resembled a penis more than anything else, and two crochet boxes with labia, clitori, and vaginal openings, one of which is stuffed and has a vaginal canal crocheted in. I wanted to continue working with the female body and using a feminine craft, feminine subject, and feminine colors to create something that is undeniably feminine.My original plan was to crochet five dolls with heads and pink eyes, yet the more I worked with the dolls, the more complete they felt without heads. While I did complete two dolls, I overestimated how much I could feasibly accomplish without causing myself serious harm. The remaining three dolls will be made in the spring of 2020 and I will have more time to explore different body shapes.
While working on this project, I found a pattern for a more realistic doll body from BubleeArtDolls on etsy. And after completing the pattern once, I altered the pattern to fit the image I wanted. Once I realized that my desk was covered in graphite and charcoal and that was making my yarn black, I covered my desk in paper which helped in keeping track of the changes I made to the pattern. To make the dolls, I started by making the arms and fingers then move onto the legs. I used a variety of different sized hooks and yarns which helped in diversifying the shapes of the dolls along with their texture and color.
Besides Raurich, my other influences are Gil Yefman from Israel, Michel Nedjar from France, and Boris Lurie from Latvia. Their pieces have a grotesque quality to it that lends well to the raw emotional quality I am trying to depict in my work. All three of these artists use their artwork to process the Holocaust, and while they all tackle this differently, there is a reoccuring theme of rejecting the notion that art has to be beautiful and pleasing to look at. Yefman’s work has crochet body fluids, Nedjar’s work uses rags and scraps of cloth, and Lurie started a movement to reject this idea. Lurie and Sam Goodman even created a sculpture out human feces. If there’s anything to take away from this statement is that I create art as a form of therapy. My art is really for me and I do not care what people think of it.
As a senior at Agnes Scott College, my entire body of work for my classes has revolved around my creation of a graphic novel that I’ve titled (Can’t) save Everyone that tells the story of two outcasts growing up in almost total isolation in rural Tennessee. I’ve used the two characters from my novel, Callum and Moure, as subjects for all of my work, exploring themes of family, individuality, trust, and coping with violence. I’ve used many techniques to depict them, from the book itself being illustrated with markers and ink, oil paintings, watercolor paintings, and even
woodcut prints. Having two distinct subjects made it easy for me to explore new mediums and techniques as I prepare to graduate and hopefully publish my graphic novel.Here are links to the individual chapters of my book that are for sale.
Chapter 1: https://gumroad.com/l/CSEChapter1
Chapter 2: https://gumroad.com/l/CSEChapter2
Chapter 3: https://gumroad.com/l/CSEChapter3
I’m a lens-based artist working with photography, collage, and films. My projects explore themes of displacement and belonging, and they stem from personal experiences: as someone who’s born in mainland China yet educated overseas, as a speaker of two languages, as a woman. In a way, all my works start with an impulse to convey a deep yet transitory feeling, a vague voice, a floating idea that’s eager to find a form. As opposed to categorizing and defining identity groups, I’m interested in exploring a way to capture the indistinctness, complexity, and ever-mutating nature of identity in a world where large groups of people have been wandering around by chance or choice. My works seek to find a voice for what I’m constantly observing and interpreting, to capture the fragmented yet connected experiences, to create room for contemplating a possibility of remaining undefined and fluid, of seeing souls rather than identities, individuals rather than ideologies.